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And we're back. Welcome to the show that gives YOU the chance | 0:00:02 | 0:00:04 | |
to have YOUR say on the BBC television programmes | 0:00:04 | 0:00:07 | |
you've loved and loathed. | 0:00:07 | 0:00:09 | |
This is your Points Of View. | 0:00:09 | 0:00:11 | |
Last weekend was, of course, Easter, | 0:00:22 | 0:00:24 | |
and the BBC marked the occasion with some dedicated programmes. | 0:00:24 | 0:00:27 | |
You were happy with their offering. | 0:00:27 | 0:00:29 | |
CHORAL MUSIC PLAYS | 0:00:29 | 0:00:32 | |
THE POPE SPEAKS LATIN | 0:00:37 | 0:00:40 | |
Good Friday on BBC one saw Fern Britton travel to Jerusalem | 0:00:47 | 0:00:51 | |
for a life-changing journey | 0:00:51 | 0:00:53 | |
in search of the real story of Jesus's final days on earth. | 0:00:53 | 0:00:56 | |
It is truly amazing when you think that that person | 0:00:58 | 0:01:01 | |
-who is so important for millions of people across the world... -Yeah. | 0:01:01 | 0:01:04 | |
-that he was actually at this spot. -Yes. | 0:01:04 | 0:01:08 | |
He would have known this place, yes. | 0:01:08 | 0:01:12 | |
And recognised the features that you see around you. | 0:01:12 | 0:01:15 | |
Oh, Shimmala, what a story. | 0:01:15 | 0:01:16 | |
High praise, indeed, for Fern. | 0:01:51 | 0:01:53 | |
And onto a different journey. Peter Capaldi is back in the TARDIS | 0:01:53 | 0:01:57 | |
for the tenth series of Doctor Who. | 0:01:57 | 0:02:00 | |
This is the final outing for Capaldi | 0:02:00 | 0:02:01 | |
as he passes the sonic screwdriver to Doctor number 13. | 0:02:01 | 0:02:05 | |
I'll see you at 6pm every weekday. I don't care who is dying. | 0:02:05 | 0:02:08 | |
Never, ever be late. I'm very particular about time. | 0:02:08 | 0:02:11 | |
Oh, um... | 0:02:14 | 0:02:16 | |
People just call you the doctor. | 0:02:17 | 0:02:18 | |
What do I call you? | 0:02:20 | 0:02:22 | |
The Doctor. | 0:02:22 | 0:02:24 | |
But doctor's not a name. I can't just call you Doctor. | 0:02:24 | 0:02:27 | |
Dr What? | 0:02:29 | 0:02:30 | |
In the opening episode last Saturday, | 0:02:31 | 0:02:33 | |
we met new companion Bill Potts, played by Pearl Mackie. | 0:02:33 | 0:02:37 | |
You were keen to send your thoughts on her debut. | 0:02:37 | 0:02:40 | |
Peter Capaldi and his new assistant, | 0:02:40 | 0:02:42 | |
as played by Pearl Mackie, | 0:02:42 | 0:02:44 | |
were absolutely fantastic. | 0:02:44 | 0:02:46 | |
It's never easy introducing a brand-new character | 0:02:46 | 0:02:49 | |
into any series, let alone Doctor Who, | 0:02:49 | 0:02:51 | |
whilst keeping the narrative moving forward | 0:02:51 | 0:02:55 | |
as you have to introduce the character to the Doctor | 0:02:55 | 0:02:58 | |
and also to the public at large. | 0:02:58 | 0:03:01 | |
But I think Steven Moffat did a first-class job. | 0:03:01 | 0:03:04 | |
I think this series of Doctor Who | 0:03:04 | 0:03:07 | |
has a new freshness about it | 0:03:07 | 0:03:09 | |
with great acting and great | 0:03:09 | 0:03:11 | |
scriptwriting by all involved. | 0:03:11 | 0:03:14 | |
And I think it's going to be | 0:03:14 | 0:03:16 | |
a good pairing with Pearl Mackie and | 0:03:16 | 0:03:18 | |
Peter Capaldi. | 0:03:18 | 0:03:19 | |
Ah, Ace, played by Sophie Aldred, companion of the seventh Doctor, | 0:03:28 | 0:03:33 | |
first appeared on screen in 1987. | 0:03:33 | 0:03:36 | |
You didn't know I was a Whovian. | 0:03:36 | 0:03:38 | |
The new series, the new companion receiving rave reviews, then. | 0:03:38 | 0:03:42 | |
And it continues on BBC ONE, Saturday nights | 0:03:42 | 0:03:45 | |
at 7:20 PM. | 0:03:45 | 0:03:46 | |
From science fiction to science fact now, | 0:03:48 | 0:03:50 | |
and the BBC's latest natural history series. | 0:03:50 | 0:03:53 | |
Liz Bonnin joined a scientific team on an expedition across the | 0:03:57 | 0:04:01 | |
Galapagos Islands to carry out important research | 0:04:01 | 0:04:04 | |
that will help protect the area and its inhabitants. | 0:04:04 | 0:04:07 | |
Wolf Volcano. | 0:04:08 | 0:04:11 | |
Sitting above the clouds. | 0:04:11 | 0:04:12 | |
It is the tallest volcano in the Galapagos, 1,700 metres. | 0:04:12 | 0:04:18 | |
You thought it was visually stunning | 0:04:18 | 0:04:20 | |
but audibly not so much. | 0:04:20 | 0:04:23 | |
An expedition like this on this sort of scale | 0:04:25 | 0:04:28 | |
has never been attempted in the Galapagos before. | 0:04:28 | 0:04:30 | |
Strong words for a complaint we have had on our desk time and again. | 0:05:07 | 0:05:11 | |
So keep your comments coming, good and bad, | 0:05:11 | 0:05:12 | |
you can get in touch in the usual ways. | 0:05:12 | 0:05:15 | |
..or via the website. | 0:05:18 | 0:05:19 | |
..where you can also send us a video. | 0:05:22 | 0:05:24 | |
We're on social media too, of course. Tweet us at... | 0:05:24 | 0:05:26 | |
..or join in the conversation about the week's television | 0:05:28 | 0:05:30 | |
on our Facebook page. | 0:05:30 | 0:05:32 | |
Now in its 19th series, Holby City is always appointment to view, | 0:05:39 | 0:05:43 | |
every Tuesday on BBC ONE. | 0:05:43 | 0:05:45 | |
And the writers are never afraid to tackle the tough issues. | 0:05:45 | 0:05:49 | |
Thee recent domestic abuse storyline between Dominic and Isaac | 0:05:49 | 0:05:53 | |
had you gripped. | 0:05:53 | 0:05:55 | |
I'm proud of you. | 0:05:55 | 0:05:57 | |
Proud?! | 0:06:01 | 0:06:02 | |
Could you be any more patronising? | 0:06:04 | 0:06:07 | |
You make me do this, Dominic. | 0:06:09 | 0:06:12 | |
No, I'm not. | 0:06:13 | 0:06:14 | |
We caught up with David Ames, the actor who plays | 0:06:46 | 0:06:49 | |
Dr Dominic Copeland. | 0:06:49 | 0:06:51 | |
Domestic abuse on any level is an important subject to be shown | 0:06:51 | 0:06:54 | |
on national television. | 0:06:54 | 0:06:57 | |
Gay domestic abuse is something that is rarely touched upon. | 0:06:57 | 0:07:00 | |
For Dominic and Isaac at the moment, | 0:07:00 | 0:07:02 | |
this relationship has been going for a few months, | 0:07:02 | 0:07:05 | |
and to look back, you would see that the seeds of emotional abuse | 0:07:05 | 0:07:09 | |
were there throughout. | 0:07:09 | 0:07:11 | |
I feel the writers on the show, the directors, | 0:07:11 | 0:07:14 | |
everyone involved here on Holby City give everything to ensure | 0:07:14 | 0:07:19 | |
that what are usually considered minority voices | 0:07:19 | 0:07:23 | |
are given a prime-time slot to be aired. | 0:07:23 | 0:07:26 | |
But it's not been a totally clean bill of health | 0:07:26 | 0:07:28 | |
according to some of you. | 0:07:28 | 0:07:29 | |
Well, we decided to put this concern to Holby City directly. | 0:07:54 | 0:07:59 | |
Avid viewer Lesley Hatcher | 0:07:59 | 0:08:01 | |
visited the set to meet the BBC's head of continuing drama series, | 0:08:01 | 0:08:04 | |
Oliver Kent. | 0:08:04 | 0:08:06 | |
This is our set. This is our cafe | 0:08:14 | 0:08:17 | |
and where all the emotional stuff happens. | 0:08:17 | 0:08:20 | |
So this is Darwin Ward, the original ward from the show which, | 0:08:20 | 0:08:24 | |
now, obviously, we've expanded hugely. | 0:08:24 | 0:08:26 | |
After a tour of the set, it was down to business. | 0:08:26 | 0:08:29 | |
First of all, I'd like to say that I like Holby City. | 0:08:29 | 0:08:32 | |
And I feel that the two gay storylines on the programme | 0:08:32 | 0:08:34 | |
have taken over the content. | 0:08:34 | 0:08:37 | |
I don't have any problem portraying gay relationships on the screen, | 0:08:37 | 0:08:40 | |
but I feel the balance between the two medical storylines | 0:08:40 | 0:08:44 | |
and these relationships is disproportionate. | 0:08:44 | 0:08:46 | |
We feel that within Holby City, we represent all of modern Britain. | 0:08:46 | 0:08:50 | |
Representing gay characters on television is contemporary | 0:08:50 | 0:08:53 | |
and is current and there is no reason why we shouldn't. | 0:08:53 | 0:08:56 | |
We play to a very wide audience, not all of whom look and sound like me. | 0:08:56 | 0:09:01 | |
And therefore, it's important that we cover absolutely | 0:09:01 | 0:09:03 | |
everything within the world of Holby City. | 0:09:03 | 0:09:05 | |
Why do you feel it's important to include | 0:09:05 | 0:09:07 | |
so many gay storylines in this programme? | 0:09:07 | 0:09:11 | |
So we have four out of our 18 characters that, | 0:09:11 | 0:09:13 | |
at the moment, are of a gay persuasion. | 0:09:13 | 0:09:15 | |
I don't think that is an overrepresentation, | 0:09:15 | 0:09:18 | |
and it feels like modern urban life to those of us who make the show | 0:09:18 | 0:09:20 | |
and to most of our audience. | 0:09:20 | 0:09:23 | |
In the 19 years of Holby's history, we have had a huge number of | 0:09:23 | 0:09:26 | |
characters of all different types of ethnicity and sexual orientation, | 0:09:26 | 0:09:29 | |
something that we are very, very proud of and we always have been. | 0:09:29 | 0:09:32 | |
Are you trying to comply with the BBC Diversity Programme | 0:09:32 | 0:09:36 | |
by including so many gay characters? | 0:09:36 | 0:09:40 | |
There is no specific requirement for us to include any particular area. | 0:09:40 | 0:09:44 | |
There are no quotas, there are no targets. | 0:09:44 | 0:09:47 | |
Holby City is ultimately a character-led show. | 0:09:47 | 0:09:49 | |
It's not as if we would choose an issue and say, | 0:09:49 | 0:09:52 | |
"Today, we are going to do gay bullying. | 0:09:52 | 0:09:55 | |
"Today, we are going to do an issue about female sexuality." | 0:09:55 | 0:09:59 | |
It's always, always character first. | 0:09:59 | 0:10:01 | |
Well, thank you for listening to me today. | 0:10:01 | 0:10:03 | |
-Thank you very much. -A pleasure. | 0:10:03 | 0:10:05 | |
I thought Oliver explained the way they put the storylines together | 0:10:05 | 0:10:10 | |
very well, I was very pleased with what he said | 0:10:10 | 0:10:13 | |
and I understand now why they emphasised | 0:10:13 | 0:10:16 | |
certain parts of it so much. But I'm quite happy with it | 0:10:16 | 0:10:20 | |
and I'll continue to watch this programme in the future. | 0:10:20 | 0:10:23 | |
Thank you, Lesley, for going to hospital for us. | 0:10:23 | 0:10:26 | |
Now, from Holby to hotels, | 0:10:26 | 0:10:28 | |
and BBC TWO has been giving us a rare glimpse beyond the lobby. | 0:10:28 | 0:10:31 | |
The hotel's got five stars, | 0:10:36 | 0:10:38 | |
but one of the presenters didn't score quite so highly. | 0:10:38 | 0:10:41 | |
They come with their hands clean and they haven't wiped their hands. | 0:10:41 | 0:10:44 | |
And they go like that. | 0:10:44 | 0:10:45 | |
Ha-ha. So that's why we always do with the cloth | 0:10:45 | 0:10:48 | |
when you touch the car. | 0:10:48 | 0:10:49 | |
Even if my hands are really clean, it... | 0:10:49 | 0:10:52 | |
Yes, it's always the clean. Ha-ha. | 0:10:52 | 0:10:54 | |
That's amazing. So then you can close it without touching it? | 0:11:00 | 0:11:03 | |
Oh, my goodness! | 0:11:03 | 0:11:04 | |
Can I slide over the top, you know, like in the Dukes Of Hazzard? | 0:11:15 | 0:11:18 | |
No. Ha-ha-ha! | 0:11:18 | 0:11:19 | |
We can't use that. I'm really sorry. | 0:11:29 | 0:11:32 | |
Finally, it's All Round To Mrs Brown's | 0:11:32 | 0:11:34 | |
for a good old knees up. | 0:11:34 | 0:11:36 | |
# So It's All Round To Mrs Brown's. # | 0:11:36 | 0:11:40 | |
The Irish matriarch is back on our screens | 0:11:41 | 0:11:44 | |
with a big BBC ONE Saturday night show | 0:11:44 | 0:11:46 | |
featuring celebrity guests, music and chat. | 0:11:46 | 0:11:50 | |
It's proving to be a good night in. | 0:11:50 | 0:11:51 | |
-Agnes... -What, Winnie? -Why do most women have problems | 0:11:51 | 0:11:55 | |
-with their husbands? -Some women do, but most women don't. | 0:11:55 | 0:11:58 | |
-Well, who don't, then? -Widows. | 0:11:58 | 0:12:00 | |
-Jesus himself often used metaphors. -Yeah, he did. | 0:12:20 | 0:12:22 | |
Like when he would say "flock". | 0:12:22 | 0:12:24 | |
HE GRUNTS | 0:12:24 | 0:12:26 | |
Flock. | 0:12:26 | 0:12:27 | |
Flock, like "Get ye here, my flock. That was a metaphor for "people." | 0:12:28 | 0:12:32 | |
Oh, right. So when he said fish, what did he mean? | 0:12:32 | 0:12:36 | |
Fish. | 0:12:36 | 0:12:38 | |
A touching review indeed. | 0:12:52 | 0:12:53 | |
The man behind the make-up sent us this message. | 0:12:53 | 0:12:56 | |
Hello! Hello, Points Of View. Good to talk to you. | 0:12:57 | 0:13:01 | |
Listen, I only want to say, that beautiful Tweet | 0:13:01 | 0:13:03 | |
that that man made, | 0:13:03 | 0:13:06 | |
about his mother, and how he heard her laugh? | 0:13:06 | 0:13:08 | |
I'm delighted. | 0:13:10 | 0:13:11 | |
And let me tell you something, you get good reviews and you get | 0:13:11 | 0:13:14 | |
bad reviews and that's the way it goes, but you know what? | 0:13:14 | 0:13:17 | |
That's the best review. He-he! | 0:13:17 | 0:13:18 | |
-The rest of them can just -BLEEP BLEEP BLEEP -off. | 0:13:20 | 0:13:22 | |
Mrs Brown herself. Great stuff. | 0:13:24 | 0:13:27 | |
Well, that is it from us for another week. | 0:13:27 | 0:13:29 | |
We are back next Sunday at the hopefully memorable time of 4.05pm. | 0:13:29 | 0:13:34 | |
See you then. | 0:13:35 | 0:13:37 |